Mix
''Mix'' is an English word with several meanings. It may refer to:- [[Audio mixing]], the process of combining individual tracks into a single recording
- A [[mixture]], the product of mixing, especially in [[chemistry]] or [[physics]]
- [[MIX (computer)]], a hypothetical computer used in Donald Knuth's ''The Art of Computer Programming''
- [[Mix (programming language)]], an early array programming language
- [[Mix (build tool)|Mix]], a build automation tool for the Elixir programming language
- [[Mixtape]], a compilation of songs, often on cassette tape
- [[Remix]], a piece of media altered from its original form
- [[Tom Mix]], American film actor and star of early Western movies
Audio and music
Audio mixing
Audio mixing is the process of combining and balancing multiple individual audio tracks, such as vocals, instruments, and effects, to produce a cohesive and polished final recording. This involves adjusting levels, applying equalization (EQ) to separate frequencies, using compression to control dynamics, and incorporating spatial effects like reverb and delay to create depth and immersion. The goal is to ensure clarity, emotional impact, and compatibility across playback systems, from studio monitors to consumer headphones.[1][2] The history of audio mixing traces back to the mid-20th century, evolving from rudimentary analog techniques to sophisticated digital workflows. In the 1940s and 1950s, pioneers like Les Paul developed multitrack recording by modifying tape machines to allow overdubbing, enabling the layering of sounds without live ensemble performance; Paul's "sound-on-sound" method, starting around 1945, laid the foundation for modern mixing by permitting isolated track manipulation. A key milestone came in 1958 with the introduction of the EMI REDD.37 mixing console at Abbey Road Studios, which featured eight channels with valve preamps and EQ, facilitating precise control over multitrack inputs during the rise of stereo recording. By the 1960s, producers like Phil Spector advanced analog mixing with his "Wall of Sound" technique, which involved densely layering instruments and echoes in a single room to create a massive, reverberant sonic texture, as heard in tracks like The Ronettes' "Be My Baby" (1963). The transition to digital began in the late 1980s, but digital audio workstations (DAWs) truly proliferated in the 1990s, with tools like Digidesign's Sound Tools (predecessor to Pro Tools, released 1989) allowing non-destructive editing and precise automation on personal computers.[3][4][5][6] Core techniques in audio mixing focus on achieving balance and separation among elements. Volume balancing starts by setting relative levels so no track dominates, often using faders on a console or DAW to maintain headroom and prevent clipping, typically aiming for a master peak around -6 dBFS in digital environments. Panning positions sounds across the stereo field—left, center, or right—to simulate spatial placement and avoid mono congestion, such as placing guitars wide while keeping vocals centered for focus. Frequency separation via EQ carves out space by boosting or cutting specific bands; for instance, attenuating low-mid frequencies (200-500 Hz) on guitars prevents muddiness with bass, while high-shelf boosts add air to cymbals. Dynamic control with compressors evens out peaks, and effects like reverb simulate room acoustics for depth—short decays for intimacy, long for ambiance—while delay creates rhythmic echoes, often automated to vary over time. In rock production, Spector's Wall of Sound exemplified aggressive layering and chamber reverb for density, blending multiple pianos and percussion into an orchestral wall. For electronic music, techniques emphasize synthesis layering and sidechain compression, where a kick drum triggers ducking on basslines to ensure punchy low-end rhythm without frequency clashes.[2][7][8][9] Tools for audio mixing span hardware and software, each offering distinct advantages in control and flexibility. Traditional hardware mixing desks, or consoles, originated in the 1930s with basic Western Electric models but matured in the 1950s-1970s with inline designs like the Neve 8078 (1970), featuring mic preamps, EQ, and routing for analog warmth and tactile fader adjustments. Modern software DAWs dominate, with Pro Tools (evolved from 1989's Sound Tools) excelling in professional recording and mixing through its timeline-based interface and elastic audio for timing correction. Ableton Live, introduced in 2001, suits electronic and live performance with its session view for nonlinear arrangement and real-time warping. Automation features, which programmatically adjust parameters like volume or panning over time, became more accessible in the 2000s; Pro Tools 7 (2006) introduced clip-based automation for precise fades and effects modulation, while Ableton enhanced envelope drawing for dynamic builds in electronic tracks. These tools often integrate plugins emulating analog gear, such as UAD's Neve emulations, bridging historical techniques with digital precision. As of 2025, audio mixing has incorporated AI tools for automated processing, such as intelligent EQ and mastering suggestions, alongside spatial audio techniques for immersive experiences in formats like Dolby Atmos.[10][11][12]Mixtapes and remixes
Mixtapes originated as physical cassette compilations in the 1970s hip-hop scene, particularly in the Bronx, New York, where DJs recorded live sets from block parties to capture the energy of emerging artists and crowds. These tapes, often featuring uncleared samples and freestyles, served as portable snapshots of underground culture, distributed informally at local spots like barber shops or car trunks to promote new talent without major label involvement. Pioneering DJs in this era, including those influenced by the block party innovations of figures like Kool Herc, used mixtapes to extend the reach of hip-hop beyond live events, fostering community ties and artist visibility in an era before widespread radio play.[13] Over time, mixtapes evolved from analog cassettes to digital formats, transitioning through burned CDs and file-sharing in the 1990s and early 2000s before becoming downloadable .zip files and online uploads. This shift democratized distribution, allowing independent artists to bypass traditional gatekeepers and build grassroots momentum. A remix, by contrast, involves reworking an original track through alterations like changing the tempo, adding new instrumental elements, or extending breakdowns to suit different contexts, such as club play. In the 1980s, 12-inch vinyl remixes became staples in dance music, offering extended versions with enhanced bass and dynamic mixes tailored for DJ transitions in discos and clubs. Today, modern EDM bootlegs exemplify this process as unofficial, fan-made alterations shared online, often blending genres for viral appeal.[13][14][15] Mixtapes played a pivotal role in artist discovery, exemplified by 50 Cent's 2002 release Guess Who's Back?, a compilation that showcased his raw street narratives and freestyles over popular beats, garnering underground buzz and attracting Eminem's attention, which led to his major-label deal and the blockbuster album Get Rich or Die Tryin'. However, their reliance on sampling sparked legal challenges; the 1991 lawsuit against Biz Markie for unauthorized use of Gilbert O'Sullivan's "Alone Again (Naturally)" in his track "Alone Again" ruled that even brief samples required clearance, ushering in an era of costly permissions that curbed creative freedom in hip-hop production post-1990s. In the modern streaming landscape, platforms like SoundCloud—launched in 2007 and pivotal for mixtape uploads by 2008—have transformed mixtapes into playlists and on-demand releases, enabling instant global sharing. Revenue models vary: many remain free to drive promotion and fan engagement, while others monetize through streaming royalties or paid features, with top artists earning up to $50,000 per high-profile inclusion on a mixtape.[16][17][18]Albums titled "Mix"
Several notable albums titled "Mix" or closely related variants emerged in the late 1980s and 1990s, primarily as remix collections that reinterpreted earlier material using contemporary production techniques. These releases capitalized on the growing popularity of electronic and alternative music, reflecting a broader industry trend toward remix albums during the CD era, when physical sales surged due to the format's affordability and capacity for extended tracklists.[19] One prominent example is The Mix by Kraftwerk, the German electronic pioneers' tenth studio album, released on June 10, 1991, via Kling Klang and EMI in Europe and Elektra Records in North America.[20] The album features digitally re-recorded and remixed versions of tracks from their earlier catalog, such as "Autobahn," "Radioactivity," and "Trans-Europe Express," incorporating house and techno elements to update the sound for the 1990s dance scene.[21] It peaked at number 15 on the UK Albums Chart and spent six weeks there, while achieving silver certification in the UK for 60,000 units shipped.[22][23] Critical reception was mixed, with some reviewers criticizing the absence of new material but others appreciating its role in revitalizing the band's classics for newer audiences amid evolving electronic genres.[24] The Cure's Mixed Up, a remix album released on November 20, 1990, by Fiction Records, compiles reimagined versions of tracks spanning 1981 to 1989, including "Close to Me" and "Lullaby."[25] Produced primarily by David M. Allen with contributions from Robert Smith and Mark Saunders, it extends songs into club-friendly lengths, emphasizing atmospheric and rhythmic reinterpretations.[26] The album reached number 8 on the UK Albums Chart, benefiting from the band's post-Disintegration momentum.[27] Reception highlighted its function as a transitional release, offering fans extended mixes while showcasing production experimentation, though some noted it as a safer creative detour compared to the band's original works.[28] Gary Numan's The Mix, issued on April 14, 1998, by Cleopatra Records, is a tribute-style remix album featuring reinterpretations of his hits like "Cars" and "Are 'Friends' Electric?" by industrial and electronic artists such as Spahn Ranch and Leather Strip.[29] Drawing from Numan's new wave roots, the collection blends EBM and trance influences, extending tracks into darker, more aggressive forms without orchestral elements.[30] It did not chart prominently but appealed to niche electronic audiences, underscoring the enduring remix trend in synthpop during the late 1990s.[31] These albums exemplify the 1990s surge in official remix projects, driven by technological advances in digital audio and the CD format's dominance, which allowed labels to repackage back catalogs for renewed commercial viability.[19]Computing
MIX computer
The MIX computer is a hypothetical model invented by Donald E. Knuth to teach fundamental concepts in assembly language programming and computer architecture, as detailed in Appendix A of Volume 1 of his The Art of Computer Programming, first published in 1968.[32] Designed to mimic the essential features of 1960s-era computers without their implementation-specific quirks, MIX enables learners to focus on algorithmic logic and low-level operations in a controlled, abstract environment.[33] Its model number, 1009, derives from the average of key metrics from 16 popular computers of that decade, emphasizing pedagogical simplicity over real-world fidelity. MIX features 4000 words of memory, with each word consisting of five 6-bit bytes (values 0–63) plus a sign (+ or -), allowing representation of signed integers roughly equivalent to five decimal digits for instructional examples. The architecture includes eight registers: the full-word accumulator (A) and extension register (X), both five bytes plus sign; six two-byte index registers (I₁ through I₆), each with a sign; the two-byte jump register (J), always non-negative; and an internal program counter (PC) that tracks the address of the next instruction.[33] Instructions occupy memory words and follow a fixed format: a two-byte address field (00–63, specifying location 0–3999), a one-byte index specifier (0–6), a one-byte field specifier (0–63, defining byte ranges as 10*L + R where L ≤ R, e.g., 05 for bytes 1–5 the full word), and a one-byte opcode (00–59, though only 56 are defined). The instruction set comprises 56 operations, categorized into load/store, arithmetic, comparison, input/output, and control flow. For instance, the ADD instruction (opcode 01) adds the contents of the specified memory location (adjusted by the index if applicable) to register A, with overflow detection; LOAD A (LDA, opcode 08) transfers a full word from memory to A; and STORE A (STA, opcode 25) writes A's contents to memory.[33] Addressing modes include absolute (index 0, using the address directly) and indexed (index 1–6, adding the selected I register's value—interpreted as signed—to the address; if outside 0–3999, an error occurs). Field specifiers allow partial-word operations, such as loading only the high-order bytes, to simulate data manipulation common in early computing. Developed in the mid-1960s amid the rise of structured programming education, MIX provided a stable platform for Knuth's examples across multiple volumes of The Art of Computer Programming, avoiding the rapid obsolescence of real machines.[32] In the late 1990s, Knuth introduced MMIX, a 64-bit RISC successor, to better align with contemporary architectures while preserving the teaching philosophy; MMIX has been integrated into newer fascicles since 2005 and Volume 4A (2011), with plans to replace MIX in revised editions of earlier volumes.[34] No physical MIX hardware was ever constructed, but its influence persists through widespread use in computer science curricula globally.[35] Emulators, such as the GNU MIX Development Kit (MDK) first released in 2001 and web-based simulators, have facilitated hands-on learning since at least the 1970s, with tools like Stanford's MIX/360 assembler from 1971 enabling practical experimentation.[36][37]Mix programming language
Mix, often referred to as MIXAL, is an assembly language developed by Donald Knuth for the hypothetical MIX computer, serving as a tool to exemplify computer algorithms in a standardized, machine-like environment. Created in the 1960s and first detailed in the inaugural volume of Knuth's The Art of Computer Programming published in 1968, MIXAL emphasizes precise control over computation to aid in the teaching and analysis of programming concepts, particularly for numerical analysis and data processing tasks. Unlike high-level languages, it operates at a low level but enables the simulation of array-based operations through explicit memory management and instruction sequences. Key features of MIXAL include mnemonic instructions for arithmetic, logical, and control operations on 5-digit signed words stored in a 4000-word memory, with support for indexing and field specifications to handle portions of words efficiently. Vectorized computations, such as array addition, are expressed through loops or sequential instructions rather than implicit parallelism; for instance, adding two arrays B and C into A might involve initializing an index register, loading elements with indexed addressing (e.g.,LDA X,B(I) to load from B using index I), adding (ADD X,C(I)), and storing (STA X,A(I)), incrementing the index until the array bounds are reached—all without explicit high-level syntax like A = B + C, but achieving loop-free efficiency in optimized implementations for matrix operations like multiplication via unrolled sequences. This integration of assembly primitives with structured control flows draws conceptual parallels to early Fortran-style numerical routines, allowing concise code for scientific computing examples such as sorting or searching algorithms.[38]
Historically, MIXAL emerged around 1962 during Knuth's work on his multi-volume series, gaining prominence through its use in academic settings for early minicomputer-era education on PDP-series machines and beyond; its adoption peaked in the 1970s for algorithm pedagogy but waned by the 1980s amid the rise of higher-level languages like C. Despite its decline in practical usage, MIXAL remains relevant in computer science curricula for understanding low-level optimization of array operations.[39]
Implementations of MIXAL include the original conceptual assembler described by Knuth, with practical realizations such as the GNU MIX Development Kit (MDK), released in 2001, which offers a cross-platform assembler, simulator, and debugger for executing MIXAL programs; post-2000 open-source emulators, including web-based tools, have further preserved its accessibility for modern users. These tools run on contemporary hardware, simulating the MIX architecture originally conceived as a predecessor to more advanced designs like MMIX.